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Sprayed

Works from 1929 to 2015

June 11–August 1, 2015
Britannia Street, London

Installation view Photo: Mike Bruce

Installation view

Photo: Mike Bruce

Installation view Photo: Mike Bruce

Installation view

Photo: Mike Bruce

Installation view Photo: Mike Bruce

Installation view

Photo: Mike Bruce

Installation view Photo: Mike Bruce

Installation view

Photo: Mike Bruce

Installation view Photo: Mike Bruce

Installation view

Photo: Mike Bruce

Installation view Photo: Mike Bruce

Installation view

Photo: Mike Bruce

Installation view Photo: Mike Bruce

Installation view

Photo: Mike Bruce

Installation view Photo: Mike Bruce

Installation view

Photo: Mike Bruce

Installation view Photo: Mike Bruce

Installation view

Photo: Mike Bruce

Installation view Photo: Mike Bruce

Installation view

Photo: Mike Bruce

Installation view Photo: Mike Bruce

Installation view

Photo: Mike Bruce

Installation view Photo: Mike Bruce

Installation view

Photo: Mike Bruce

Installation view Photo: Mike Bruce

Installation view

Photo: Mike Bruce

Installation view Photo: Mike Bruce

Installation view

Photo: Mike Bruce

Installation view Photo: Mike Bruce

Installation view

Photo: Mike Bruce

Installation view Photo: Mike Bruce

Installation view

Photo: Mike Bruce

Installation view Photo: Mike Bruce

Installation view

Photo: Mike Bruce

Installation view Photo: Mike Bruce

Installation view

Photo: Mike Bruce

Installation view Photo: Mike Bruce

Installation view

Photo: Mike Bruce

Installation view Photo: Mike Bruce

Installation view

Photo: Mike Bruce

Installation view Photo: Mike Bruce

Installation view

Photo: Mike Bruce

Installation view Photo: Mike Bruce

Installation view

Photo: Mike Bruce

Works Exhibited

Richard Artschwager, Satyr, 2001 Acrylic, rubberized hair, and Masonite, 57 × 32 × 2 ½ inches (144.8 × 81.3 × 6.4 cm)

Richard Artschwager, Satyr, 2001

Acrylic, rubberized hair, and Masonite, 57 × 32 × 2 ½ inches (144.8 × 81.3 × 6.4 cm)

Jean-Michel Basquiat, Untitled, 1981 Aerosol paint, pencil, felt-tip pen, acrylic, and enamel paint on panel, 50 ½ × 29 inches (128.3 × 73.7 cm)© The Estate of Jean-Michel Basquiat

Jean-Michel Basquiat, Untitled, 1981

Aerosol paint, pencil, felt-tip pen, acrylic, and enamel paint on panel, 50 ½ × 29 inches (128.3 × 73.7 cm)
© The Estate of Jean-Michel Basquiat

John Chamberlain, Anteambulo Quincunx, 1992 Painted steel, 48 ⅜ × 77 × 59 inches (122.9 × 195.6 × 149.9 cm)© John Chamberlain. Photo: Miriam Perez

John Chamberlain, Anteambulo Quincunx, 1992

Painted steel, 48 ⅜ × 77 × 59 inches (122.9 × 195.6 × 149.9 cm)
© John Chamberlain. Photo: Miriam Perez

Dan Christensen, Pavo, 1968 Acrylic on canvas, 108 × 132 inches (274.3 × 335.3 cm)© Estate of Dan Christensen. Photo: Mike Bruce

Dan Christensen, Pavo, 1968

Acrylic on canvas, 108 × 132 inches (274.3 × 335.3 cm)
© Estate of Dan Christensen. Photo: Mike Bruce

Dan Colen, HOLY SHIT, 2006 Oil on plywood, 48 × 36 inches (121.9 × 91.4 cm)© Dan Colen. Photo: Rob McKeever

Dan Colen, HOLY SHIT, 2006

Oil on plywood, 48 × 36 inches (121.9 × 91.4 cm)
© Dan Colen. Photo: Rob McKeever

Piero Golia, Intermission painting #8 green to purple, 2014 EPS foam, hard coat, and pigment, 75 × 48 ½ × 14 ½ inches (190.5 × 123.2 × 36.8 cm)© Piero Golia

Piero Golia, Intermission painting #8 green to purple, 2014

EPS foam, hard coat, and pigment, 75 × 48 ½ × 14 ½ inches (190.5 × 123.2 × 36.8 cm)
© Piero Golia

Kim Gordon, Mulholland Series (Copper Wreath), 2014 Acrylic on canvas, 36 × 36 inches (91.4 × 91.4 cm)Photo: Fredrik Nilsen

Kim Gordon, Mulholland Series (Copper Wreath), 2014

Acrylic on canvas, 36 × 36 inches (91.4 × 91.4 cm)
Photo: Fredrik Nilsen

Katharina Grosse, Untitled, 2015 Acrylic on canvas, 94 ½ × 152 ¾ inches (240 × 388 cm)© Katharina Grosse and VG Bild-Kunst Bonn, 2015. Photo: Olaf Bergmann

Katharina Grosse, Untitled, 2015

Acrylic on canvas, 94 ½ × 152 ¾ inches (240 × 388 cm)
© Katharina Grosse and VG Bild-Kunst Bonn, 2015. Photo: Olaf Bergmann

Wade Guyton and Stephen Prina, Wade Guyton, Untitled 2011, Epson UltraChrome inkjet on linen / Stephen Prina, PUSH COMES TO LOVE, Untitled, 1999–2011, 2011 Epson UltraChrome inkjet on linen and acrylic enamel on linen; the contents of a can of enamel spray paint; 84 × 69 inches (213.4 × 175.3 cm)© Wade Guyton and Stephen Prina. Courtesy the artists, Petzel, New York. Photo: Rob McKeever

Wade Guyton and Stephen Prina, Wade Guyton, Untitled 2011, Epson UltraChrome inkjet on linen / Stephen Prina, PUSH COMES TO LOVE, Untitled, 1999–2011, 2011

Epson UltraChrome inkjet on linen and acrylic enamel on linen; the contents of a can of enamel spray paint; 84 × 69 inches (213.4 × 175.3 cm)
© Wade Guyton and Stephen Prina. Courtesy the artists, Petzel, New York. Photo: Rob McKeever

Keith Haring, Untitled (FDR NY) #25 & #26, 1984 Spray enamel paint on metal, 40 × 204 inches (101.6 × 518.2 cm)Photo: Mike Bruce

Keith Haring, Untitled (FDR NY) #25 & #26, 1984

Spray enamel paint on metal, 40 × 204 inches (101.6 × 518.2 cm)
Photo: Mike Bruce

Harmony Korine, TBD, 2014 Oil, house paint, and acrylic on canvas, 32 × 25 inches (81.3 × 63.5 cm)Photo: Rob McKeever

Harmony Korine, TBD, 2014

Oil, house paint, and acrylic on canvas, 32 × 25 inches (81.3 × 63.5 cm)
Photo: Rob McKeever

Steven Parrino, Untitled, 1991 Sprayed enamel, pencil on vellum, 9 × 12 inches (22.9 × 30.5 cm)© Steven Parrino

Steven Parrino, Untitled, 1991

Sprayed enamel, pencil on vellum, 9 × 12 inches (22.9 × 30.5 cm)
© Steven Parrino

Sterling Ruby, SP311, 2014 Spray paint on synthetic canvas, 160 × 235 inches (406.4 × 596.9 cm)© Sterling Ruby. Photo: Robert Wedemeyer

Sterling Ruby, SP311, 2014

Spray paint on synthetic canvas, 160 × 235 inches (406.4 × 596.9 cm)
© Sterling Ruby. Photo: Robert Wedemeyer

Ed Ruscha, Oaf, 2009 Acrylic on museum board paper, 40 × 30 inches (101.6 × 76.2 cm)© Ed Ruscha

Ed Ruscha, Oaf, 2009

Acrylic on museum board paper, 40 × 30 inches (101.6 × 76.2 cm)
© Ed Ruscha

Julian Schnabel, Untitled, 2015 Inkjet print, ink, and spray paint on polyester, 108 × 72 inches (274.3 × 182.9 cm)Photo: Rob McKeever

Julian Schnabel, Untitled, 2015

Inkjet print, ink, and spray paint on polyester, 108 × 72 inches (274.3 × 182.9 cm)
Photo: Rob McKeever

David Smith, First Ovals, 1958 Spray paint on canvas, 98 × 51 ½ inches (248.9 × 130.8 cm)© The Estate of David Smith

David Smith, First Ovals, 1958

Spray paint on canvas, 98 × 51 ½ inches (248.9 × 130.8 cm)
© The Estate of David Smith

Andy Warhol, Oxidation, 1978 Urine on copper foil, 50 ⅛ × 39 ¼ inches (127.3 × 99.7 cm)© 2015 The Andy Warhol Foundation for the Visual Arts, Inc.

Andy Warhol, Oxidation, 1978

Urine on copper foil, 50 ⅛ × 39 ¼ inches (127.3 × 99.7 cm)
© 2015 The Andy Warhol Foundation for the Visual Arts, Inc.

About

Justin Adian, Richard Artschwager, Tauba Auerbach, Martin Barré, Jean-Michel Basquiat, David Batchelor, Dike Blair, John Chamberlain, Dan Christensen, Dan Colen, Ida Ekblad, Jeff Elrod, Urs Fischer, Jack Goldstein, Piero Golia, Kim Gordon, Katharina Grosse, Wade Guyton, Richard Hamilton, Keith Haring, Hans Hartung, Alex Israel, Anish Kapoor, Paul Klee, Jeff Koons, Harmony Korine, John Latham, Joseph Logan, Nate Lowman, Olivier Mosset, Takashi Murakami, Albert Oehlen, Jules Olitski, David Ostrowski, Steven Parrino, Sigmar Polke, Stephen Prina, Ugo Rondinone, Pamela Rosenkranz, Sterling Ruby, Ed Ruscha, Mira Schendel, Julian Schnabel, David Smith, Rudolf Stingel, Blair Thurman, Charline von Heyl, Andy Warhol, Lawrence Weiner, Franz West, Michael Williams, Christopher Wool, Richard Wright

Gagosian is pleased to present Sprayed, organized by Jona Lueddeckens and Greg Bergner.

This extensive exhibition spanning four generations explores the myriad ways in which artists have employed the impulsive yet depersonalized and non-gestural forces of spray. It begins with Paul Klee’s work on paper Seltsames Theater (1929), where he improvised with a blowpipe to achieve hazy background effects in a circus scene. This tentative experiment presaged the bold and diverse artistic license that would come with the postwar advent of aerosol paint as a consumer product and the use of the industrial paint compressor.

From the mid-1950s, sculptor David Smith sprayed enamels over various studio objects and offcuts laid on canvas and paper as stencils; the resulting images recalled Paleolithic cave paintings made by blowing pigment over hands pressed flat. John Chamberlain blurred the lines between painting and sculpture by torquing scrap automobile parts into painterly abstractions, then enhancing the original paint surface with fresh sprays of colored lacquer. Lawrence Weiner’s interaction with the medium resulted in a simple, dispassionate instruction: TWO MINUTES OF SPRAY PAINT DIRECTLY UPON THE FLOOR FROM A STANDARD AEROSOL SPRAY CAN (1968), while Martin Barré tested it at different distances and pressures in a series of rapid strikes producing sequences of stripes and cryptic punctuations on paper.

Read more

From the Quarterly

Sprayed: An Interview with Peter Stevens

Sprayed: An Interview with Peter Stevens

Harnessing the gestural, unpredictable, projectile qualities of spray paint, artists have repurposed it as an alternative to the brush, to create hazy textures, drips, puddles, and graffiti-like text. Peter Stevens discusses this history of spray paint as an artistic medium with Alison McDonald.

Who is choreographing whom?

Who is choreographing whom?

PLAY, currently on view at Gagosian on West 21st Street in New York, is a work by Urs Fischer in which nine office chairs move through the gallery and interact with visitors. Artist and choreographer Madeline Hollander worked with Fischer and a team of programmers and animators to create various gestures, movements, and behavior sequences for the chairs. Gagosian’s Angela Brown sat down to talk with Hollander about this process.

Urs Fischer: Things

Urs Fischer: Things

In midtown Manhattan, a new sculpture by Urs Fischer, entitled Things, was debuted in May 2018. Fischer and international curator, Francesco Bonami, discuss this unique exhibition with the Gagosian Quarterly.

Urs Fischer: Sotatsu

Urs Fischer: Sotatsu

Urs Fischer and Francesco Bonami sat down with the Gagosian Quarterly to discuss Sōtatsu, a new painting in nine parts.

Alex Israel: New Waves

Alex Israel: New Waves

An animated, short video by Alex Israel takes viewers on a visual journey through the ideas and imagery behind his latest exhibition in Hong Kong.

Alex Israel and Venus Lau

In Conversation
Alex Israel and Venus Lau

Alex Israel speaks with curator and writer Venus Lau about New Waves, his latest exhibition in Hong Kong. Israel reveals his spirit animal, discusses his love of Duchamp, and tells Lau about the process behind his newest works.